The Legacy of Chucky

"With characteristic wit and rigor, experimental filmmaker Larry Gottheim here applies his impressionistic editing style to footage collected during his travels in the Dominican Republic. Gottheim’s formal emphasis on repetition and fissures between sound and image resonates here as a mode of sociological reflection (with the fragmentary montage mirroring elements of ritual while also destabilizing the ethnographic gaze). A largely overlooked antecedent to the contemporary blending of avant-garde and ethnographic filmmaking, MACHETTE GILLETTE… MAMA still poses a potent challenge to documentary convention." - Max Goldberg

An interview with actor Virginia Madsen about her work in Candyman (1992).

A behind-the-scenes look at the creation of Walt Disney Animation Studios' MOANA, as aided by the Oceanic Story Trust.

This is a film made in Toronto, in memoriam, so to speak - a memory piece, a "piecing-together" of the experience of living there. The consciousness of the maker comes to sharply focused visual music - not to arrive at snapshots, as such, but rather to "sing" the city as remembered from daily living...complementary, then, to an earlier film, "Unconscious London Strata." Preserved by the Academy Film Archive in 2015.

"Firstly, I revealed in salutary confession the secret filth of my misdeed, which had long been festering in stagnant silence; and I made it my custom to confess often, and thus to display the wounds of my blinded soul..." (Petrarch, 1352, in a letter to his brother). I wish to avoid any "classical" misunderstandings of the above quote by stating clearly here that any sacrifice of love is, yes, "filth" or at the very least "misdeed." An academic reading of Petrarch tends to bias thought that there are kinds of love which might be wrong: I do not believe this. (SB)

A short biography of life of St Thomas More. Contains clips from the 1966 feature film "A Man For All Seasons."

[Here] Pollet made a work that is the very definition of what French critics like to call an ovni or ufo (as in ‘unidentified filmic object’). [It] has been described as being ‘like a comet in the sky of French cinema,’ an ‘unknown masterpiece,’ and an ‘unprecedented’ work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images – a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida – is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that [it] might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual.

Some time after the events of The Ring, a subculture of people voluntarily watch Samara Morgan's video and wait to see how close to the seven-day deadline they can get before showing it to the next person. They record everything they see and share their experiences on a secret website dedicated to the videotape. No one has ever recorded a day seven.

Featurette on the making of Hellraiser.

Amy Steel discusses her part in the Friday the 13th franchise

Ignoring the admonitions of locals, journalist John Miller heads out alone to explore the remnants of Buffalo City, once the busiest town in the area but now merely a pile of dilapidated ruins amidst the encroaching swampland. Are the tales of strange apparitions and deadly encounters merely musings from tale-telling old timers, or will Miller uncover something darker, something that may cost him his life?

A short promotional film on the making of “The Wiz” (1978). Includes a brief history of Oz portrayals in film and behind the scenes interviews.